Word: openly
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Dates: during 2000-2000
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...overriding concern was that it was taking away from the open space," claims Essaibi, arguing that the sculpture's unwieldy height would block the bayside view. Neighborhood groups, local high schools and businesses contributed to the overwhelming opposition, with additional concerns about kids climbing on or graffitiing the piece. More importantly, local community groups were outraged at having been snubbed and excluded from the decision-making process concerning the publicly visible land. Essaibi claims that UMass, when it was founded in the late '60s, signed a memo agreeing to discuss any exterior aesthetic changes of the public grounds with...
Arts on the Point's latest initiative has been to open lines of communication with the community to facilitate further installations. Wendy Barring Gould is the latest member of the Arts on the Point team. Since June, she has been working as the director of educational programs and community outreach, seeking to establish community discussions. Gould claims that when the sculpture park was launched, its directors assumed that a community liaison at the college would be handling such communication. Tucker reports that he did not originally know of the existence of the Columbia-Savin Hill Civic Association, but had deliberated...
...cannot conceive of anyone sending their children anywhere where they might be open to indoctrination by Communist professors," McCarthy said of Harvard...
...final clubs alive against all odds. The guys in final clubs aren't horned monsters concealing cloven hooves in their wing-tipped shoes. In section, on dates and in general, they're the kind of guys who are quick to share a laugh, help out a friend or hold open the door. Lest this column be relegated to the dusty collection of feminist anti-final club diatribes, I hasten to assure the reading public that some of my best friends are final club members...
Using the courtyard of the Fogg Museum as the center stage of the performance is a highly integral aspect of this particular production. Not only is it an extraordinarily open and resonant space in which to hear these operatic melodies, but the style of the music and time period associated with the particular instruments and costumes of Orontea are perfectly set against the marble floors and fluted columns of the Fogg's courtyard. The upper balconies of the museum and the musicians of the orchestra are not only decorative but also incorporated into the production. Thanks to Sarah Meyers' stage...